조반니 벨리니의 잠자는 아기예수 성모자상 연구
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The purpose of this thesis is to interpret the meaning of the Virgin and Sleeping Child in the context of private devotion. Giovanni Bellini (1431-1516) executed from 1460s on five paintings representing the Virgin and sleeping christ child. They are the Madonna and the Sleeping Child (Davis Collection, New York) of 1460s, the Madonna in Adoration of the Sleeping Child (Contini Bonacossi Collection, Florence), the Madonna and Sleeping Child (Gardner Museum, Boston) and the Madonna Enthroned Adoring the Sleeping Child (Gallerie dell’ Accademia, Venice) of 1470s, and finally the Madonna of the Meadow (National Gallery, London) of 1505. As to basic information such as the patrons of these works or the place where they were hug, scarcely anything has been presented. Thus merely based on the fact that they are all half-length Madonnas, it has been in general assumed that these paintings could have been devotional paintings images for private use. This study is concerned with the functional aspect of the five paintings by Giovanni Bellini mentioned above. It would lead to the understanding of the motif of the Sleeping Child depicted in fifteenth century Venice. In spite of the influences from the artistic tendency at that time, the five ‘Madonna and Sleeping Child’ by Bellini apparently show their own characteristic features. In contrast to other contemporary painters who combined Sleeping child with motif referring to the Passion such as fruit, goldfinch, or coral necklace, notion Bellini represented the motif of parapet as a device to emphasize the notion of sleep. The pose of the Sleeping Child is what should be pointed out, for the reason that the child posed ‘Pieta’ and it embodies the Passion of the Christ. Thus the Child in the same pose as ‘Pieta’ implies two different point of time: i. e., Jesus Christ was born and when he passed away. This means that the idea of the Incarnation, being the basic theme of devotional paintings could be delivered by means of implicating two contrasting points of time.The Contrast between the birth and death of Christ in Bellini’s works could be traced back to Byzantine literature and art. Unlike in Byzantine art, Italian religions paintings of the fifteenth century were meant to be a means to deliver christian doctrines and stimulate the belief in god. Bellini’s Madonnas in adoration could have served as a stimulus for those who sat in front of the painting for private devotion. Seen in this perspective, it could be said that the above mentioned paintings by Bellini could convey the theme of the Incarnation as well as support the viewers to be absorbed in meditation on the life of Christ.
Abstract
The purpose of this thesis is to interpret the meaning of the Virgin and Sleeping Child in the context of private devotion. Giovanni Bellini (1431-1516) executed from 1460s on five paintings representing the Virgin and sleeping christ child. They are the Madonna and the Sleeping Child (Davis Collection, New York) of 1460s, the Madonna in Adoration of the Sleeping Child (Contini Bonacossi Collection, Florence), the Madonna and Sleeping Child (Gardner Museum, Boston) and the Madonna Enthroned Adoring the Sleeping Child (Gallerie dell’ Accademia, Venice) of 1470s, and finally the Madonna of the Meadow (National Gallery, London) of 1505. As to basic information such as the patrons of these works or the place where they were hug, scarcely anything has been presented. Thus merely based on the fact that they are all half-length Madonnas, it has been in general assumed that these paintings could have been devotional paintings images for private use. This study is concerned with the functional aspect of the five paintings by Giovanni Bellini mentioned above. It would lead to the understanding of the motif of the Sleeping Child depicted in fifteenth century Venice. In spite of the influences from the artistic tendency at that time, the five ‘Madonna and Sleeping Child’ by Bellini apparently show their own characteristic features. In contrast to other contemporary painters who combined Sleeping child with motif referring to the Passion such as fruit, goldfinch, or coral necklace, notion Bellini represented the motif of parapet as a device to emphasize the notion of sleep. The pose of the Sleeping Child is what should be pointed out, for the reason that the child posed ‘Pieta’ and it embodies the Passion of the Christ. Thus the Child in the same pose as ‘Pieta’ implies two different point of time: i. e., Jesus Christ was born and when he passed away. This means that the idea of the Incarnation, being the basic theme of devotional paintings could be delivered by means of implicating two contrasting points of time.The Contrast between the birth and death of Christ in Bellini’s works could be traced back to Byzantine literature and art. Unlike in Byzantine art, Italian religions paintings of the fifteenth century were meant to be a means to deliver christian doctrines and stimulate the belief in god. Bellini’s Madonnas in adoration could have served as a stimulus for those who sat in front of the painting for private devotion. Seen in this perspective, it could be said that the above mentioned paintings by Bellini could convey the theme of the Incarnation as well as support the viewers to be absorbed in meditation on the life of Christ.
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